Radioteksthttps://radiotekst.wordpress.com
historisk om avantgarde og radiokunstFri, 18 Aug 2017 04:48:44 +0000da-DKhourly1http://wordpress.com/https://s2.wp.com/i/buttonw-com.pngRadioteksthttps://radiotekst.wordpress.com
Antonin Artaud “Pour en finir avec le jugement de dieu”, 1947https://radiotekst.wordpress.com/2011/07/01/antonin-artaud-pour-en-finir-avec-le-jugement-de-dieu-1947/
https://radiotekst.wordpress.com/2011/07/01/antonin-artaud-pour-en-finir-avec-le-jugement-de-dieu-1947/#respondFri, 01 Jul 2011 15:41:06 +0000http://radiotekst.wordpress.com/?p=27]]>“For the skeletal history of bringing radiophony into high modernism, the date 2 February I948 is crucial. This is the moment of the nonevent that remains pivotal in radiophony, the suppression of Antonin Artaud’s scheduled radio broadcast of “To Have Done with the Judgmentof God”. This year also marks the origin of modern radiophonic and electroacoustic research, for it was at this moment that magnetic recording tape was perfected and became availablefor artisticpurposes. The confluence of these two events-Artaud’sfinal attempt to void his interiority, to transformpsyche and suffering and body into art; and the technical innovation of recording tape, which henceforth permitted the experimental aesthetic simulation and disarticulation of voice as pure exteriority established a major epistemological- aesthetic shift in the history of art.”

“On June 6th, 1930 a radically new form of radio was broadcast over the Berlin airwaves. An 11 minute, 20 second long collage of raw sounds greeted listeners accustomed to hearing news reports, occasional classical musical programs and, only very recently, literary works written specifically for radio performance, the nascent genre known as Hörspiel (“radio drama”). This startling work was Weekend, an audio documentary created by Walter Ruttmann, an avant- garde artist best known for his experimental filmmaking, most famously, his 1927 production Berlin — Sinfonie einer Großstadt.”

“By the mid-sixties this critical rhetoric had become highly predictable and pat. Ironically, it was at this juncture that the character of the Horspiel changed significantly, even radically. Unable to describe the change adequately with a terminology satu- rated by years of excessive claims for its uniqueness, the critics of these genuinely new phenomena were led perforce to simplicity, and we saw the emergence of “das Neue Horspiel.” It is not our purpose in this review to compare the new and old in all their particulars, since such comparisons already exist in several mono- graphs. Rather we want to illustrate the changed role of verbal and nonverbal materials in these works, specifically the extent to which this change seems related to and explainable by the parallel changes in avant-garde music.”